Best Of Modern In Dallas - edition.10 - October 2021

e.10 ‘21

// urban commons - architect: nimmo architecture

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THE

C I M DYNA

DEVELOPER

by Kendall Morgan

// urban reserve - developed by diane cheatham

Diane Cheatham gives Dallas a modernist edge, one neighborhood at a time.

One could say Diane Cheatham was born to be a developer.

Raised in a family full of members who worked in the construction business, the industry came naturally to her, even though she initially had her eye on a career in accounting. Yet, a fortuitous encounter with a co-worker led her down a different path.

“When (my husband) and I got married, we lived in Wichita, Kansas. One of the guys I worked with did a lot of real estate on the side. I got interested in the business and decided when we moved back to Dallas; I would do (developing) on my own.”

Starting her second career in the early ‘80s, her first project —a duplex on Prescott—also served as the couple’s residence, so Cheatham could see what worked and didn’t in the structure firsthand.

// urban commons - edward baum

“Just by the way life worked out, I ended up living in a lot of the houses I did on spec,” she recalls. “I think that makes you a better spec builder because you have that perspective.

It’s just different when you’re actually living in a home and the recipient of those (building) decisions.”

When she began her career, the appreciation of modernism in the Metroplex was relatively thin on the ground. But Cheatham had a prescience that allowed her to focus on genuinely envelope-pushing architecture when the likes of Dwell magazine didn’t exist.

“When we started our first project in 1982, the number of people that liked modern was a pretty small audience, and today it’s really come into its own. You’re seeing more and more architect-designed homes, and I’m just kind of an architect snob. I think homes designed by architects are just better places to live.”

By the time she was ready to create the development that put her name on the map, she was more than ready.

Inspired by a modern development she liked in the Hamptons, New York, Cheatham began ideating on an

// urban commons - marek architecture

// marek architecture

enclave that would eventually become Urban Reserve.

middle of cookie-cutter suburbia didn’t hurt, either.

“I knew nothing about doing a development, but when I built the Prescott duplex, I had never built a house. (My architect friend) Bob Meckfessel told me, I would need at least four acres, but ten acres would be nice. In literally two weeks, I got a call from someone I didn’t know who had assembled all this land, and I needed to look at it right away and close on it quickly.”

“We really wanted to create a community, not just a development. We found people who connected (to Urban Reserve) based on what they love in life. It’s modernism, architecture, and sustainability. Initially, with the people who moved in there, there was this strong connection.

We did a lot of social media, and somehow the word spread. I like to say the first buyers were the ones who drank the Kool-Aid!”

And close she did, even though she wasn’t sure she could get the zoning. But her creative vision and the site’s bucolic environs made converts of all who viewed it. The fact that Cheatham envisioned it as an oasis of modernism in the

Nestled on a sliver of land between Forest and Royal Lanes in North Dallas, the Lake Highlands development

// urban commons - a.gruppo architecture

Meet Bernbaum/Magadini Architects

EXPLORE

// urban commons - nimmo architecture

was a success from its debut in 2005. The first residents who strode the property had to view lots wearing gaiters to protect them from snakes hidden in the high grass.

Cheatham sold 50 lots carved from the site, and local starchitects such as Joshua Nimmo of Nimmo Architecture and Thad Greeves of A. Gruppo Architects crafted Urban’s sustainably designed, contemporary homes.

Cheatham was so passionate about modern architecture, she even sourced top-flight husband-and-wife team Todd Williams and Billie Tsien to create the airy abode she shares in Urban with her husband, Chuck. Best known for their work designing the Barack Obama presidential library in Chicago, their 6,900-square-foot sculptural design is centered around the heart of the home—Cheatham’s beloved kitchen and pantry.

// urban commons - nimmo architecture

// nimmo architecture

// urban commons - far + dang

Urban Reserve has garnered multiple awards throughout the years, including the 2007 Dallas AIA Excellence in Sustainable Design, the 2007 CLIDE Award (Celebrating Leadership in Development Excellence), and a 2009 award from Eco-Structure. So, it was natural for Cheatham to expand on her legacy with the launch last fall of Urban Commons. Carrying the “Urban” name forward, the development at the hub of LBJ, Forest Lane, and Technology Row will feature 75 to 80 single-family homes designed by the likes of Far + Dang, Marek Architecture, // kpmg

Edward Baum, and DSGN Architecture with a broader range of pricing for residents. The sizes of homes will vary as well, from intimate two bedrooms at 1,000 to 1,200 square feet up to larger dwellings of 2,000 to 2,400 square feet.

“In most developments, you’ll find houses that are the same price, but that’s not what we’ve done. Everyone’s house doesn’t need to be the same size and same room count—it’s about a little more creativity and more variety.

// far + dang

The most important thing is building a house that people love, because if the current owners and future owners love a house, they take better care of it, and it will survive longer.”

leased for a monthly fee. Residents of Urban Commons development should expect a community feel the developer has devised to encourage friends and neighbors to get to know one another.

In addition, Urban Commons will have a pond with a water well that connects to Woodbine Aquifer. Water from the pond will irrigate the grounds, giving the HOA the potential for zero water costs. Lower cost lots won’t have attached garages to avoid gas fumes and alleys breaking up the territory, but garages along the main street can be

“Everyone in Urban Commons has a nice side yard, so if you want a garden or dog run, you’ve got it, but there’s more land in common areas than there are in lots,” she explains. “Everyone one of the houses faces on a park, and the park is fairly large—40 feet wide by 150 feet deep.

We’re doing 10 exercise stations on a trail, and each common area will have a picnic table, so hopefully, people will come out and dine together and get to know their neighbors.”

With the final structures currently being built, Cheatham anticipates it will take three years for Urban Commons to be sold off. Once it is, she’ll be ready to tackle the next big dream that comes her way. But don’t expect her to rest on her laurels any time soon.

“I would like for these developments and even the individual projects I’ve done to really have a recognition that boy, this was a good project and moved the city forward,” she muses. “I hope that I’ve left a legacy. But I’m probably going to start worrying about the next one next year. I’ve got ants in my pants.” // urbancommon.live

A FAIR OF THE HE ART

by Kendall Morgan

// james barron art, peter halley - sanctum, 2011 acrylic, fluorescent acrylic, and roll-a-tex on canvas 54 x 54 inches

// luce gallery, auudi dorsey - blue-collar brother, 2021 acrylic and oil pastel on canvas - 44 x 71 inches courtesy of the artist and luce gallery, turin

The Dallas Art Fair returns for its first in-person edition in two years.

On November 11 through 14, local galleries and collectors can breathe a sigh of relief—the Dallas Art Fair has returned, albeit in a more intimate form. And there’s no denying its reemergence also signifies a return to a sense of normalcy for the industry.

Forced to postpone in 2020 in the wake of the pandemic, the Fair was initially rescheduled for last April, then September, leading to uncertainty that things would ever entirely rebound. Pared down in both staff and gallery count, the 13th edition will still gather 58 local, national and international galleries to fill the spacious floorplan at the Fashion Industry Gallery.

// turner carroll gallery, judy chicago - through the flower II, 1973/2021 mixed media, 34 x 34”

Sometimes showing off is the right thing to do.

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// saenger galería (fka archivo colectivo), fernanda brunet fashoom!, 2018 acrylic on canvas - 92 x 140 in

“The most we’ve ever had is 120 galleries, and FIG is 7400-square-feet,” says fair director Kelly Cornell. “This year, I think we have eight international galleries where normally it’s 40 to 50 percent, but with the travel restrictions, you have to quarantine or get special visa exceptions. It’s scaled down and spaced out a little bit more.

It’ll have a little bit of different feel but still have our same energy.”

This year’s edition will feature a “soft” V.I.P. opening instead of its starry socialite-filled cocktail party. Staggered from 4 to 8pm, the earlier time frame of the event should assure a steady trickle of collectors rather than the airkissed cheek-to-cheek crowds of the past. Local favorites 12.26, Conduit Gallery, Cris Worley Fine Arts, Erin Cluley, Galleri Urbane, Lillian Bloch, and Valley House will participate alongside newcomers Olivier Francois Galerie and P.A.O. Projects.

// cris worley fine art, celia eberle - city of bones, 2020 carved bone - 12.50h x 78.50w x 9din

“In particular, (Olivier director) Kevin (Ruben Jacobs) participating has been a long time in the making,” says Cornell of the young guns’ inclusion. “I think just in response to everything we really want to keep building up our local communities, the galleries, the artists and the collector community, and we want our audience in Dallas to know the Art Fair is a great time to buy work, but also our locally based galleries are really strong and are continuing to get stronger, and this is a way to support them this year.”

Founded in 2009 by art dealer Chris Byrne and real estate developer John Sughrue, the Dallas Art Fair helped transform what was a lackluster moment in the social season into a weekend when collectors and gallerists from all over the world descended on Dallas, helping to give the city the reputation of a “third coast” of creativity.

As it expanded with satellite events and a giant “Eye Ball” downtown soiree held each year on the lawn under Tony Tasset’s 30-foot ocular sculpture, it seemed like nothing

// mimmo scognamiglio, adolf tafadzwa tega - “untitled” 2021 oil on canvas cm. 110 x 110

// michael kenna, fifth avenue, new york, new york, USA, 2006

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// liliana bloch gallery, alicia eggert - it is time, 2020 made in collaboration with david moinina sengeh neon,roversi - audrey, paris 1996 // paolo custom flasher, aluminum, acrylic, wood, paint - 120” x 120” x 72”

// swoon, the house our families built (brooklyn bridge park), 2021

could slow down the Fair’s growth. That is, until Covid.

Like most industries, the art world experienced a painful pivot during the pandemic, and the Art Fair was forced to pivot right along with it.

Initially moving sales online, the 2020 edition garnered nearly $3 million in sales in just ten days, proving there was a space for a virtual event. Shortly afterward, Fair organizers launched an online digital marketplace called “Culture Place” in the vein of Artsy.com. The platform re-

mains an ongoing way for collectors to snap up work from Letitia Huckaby and Laura Wilson without ever leaving their couch.

“Obviously, April 2020 was dark days—it was a rough time,” says Cornell, who has been with the organization since graduating from Southern Methodist University in 2009. “We did the online Fair pretty quickly and got a lot of praise for it. It’s a new tool to reach a new audience.

And we could see all this new data—people we’d never

// county - sarah meyohas untitled (speculations series), 2021 edition 1 of 6 + 2 apchromogenic print 60 x 60 in (152.4 x 152.4 cm)

// nino mier, andré butzer - untitled, 2021 acrylic on canvas 78 x 104 in

seen from all over the world were accessing the site. But the thing about an art fair is you have a sense of urgency—there are thousands of people coming through, and there are only one of these objects.”

And nothing fills the void of seeing art in person. The last couple of politically and socially fraught years have also inspired fair organizers to add more contemplative works to their public programming that better reflect the times. The

Brooklyn-based sculptor Swoon (nee Caledonia Dance Curry) will transform a 14-foot box truck into a fantastical mobile “house” entitled “The House Our Families Built” in Klyde Warren Park. Presented by Santa Fe’s Turner Carroll Gallery, the roving diorama of paper and wood asks viewers to consider the legacy of ancestral histories and how they influence our identities. The Nasher will host a chat with Swoon during the Fair and a talk with emerging Black artist Grace Lynn Haynes.

// simon lee gallery, chris huen sin kan - doodood and joel, 2020 oil on canvas 78 3/4 x 94 1/2in courtesy of the artist and simon lee gallery

In addition, Lilian Bloch Gallery is presenting “It is Time,” a flashing neon installation outside the Fair’s main entrance from interdisciplinary artist Alicia Eggert that (hopefully) creates a sense of urgency around the issue of climate change. Cornell says Fair attendees should expect headier subject matter in booths as well.

“I think galleries are current, and most of the work that comes to the fair is recently made,” she explains. “So, by virtue, it’s connected to what’s been happening to us in the last couple of years. Everyone has lived through those cultural moments, but it’s still ongoing. Everything moves

so fast, and these artists are responding to our times, and these times have a lot of complexities to them. I’m hoping we’ll have more artists of color and more LBGTQ artist representation. It’s top of mind of everyone to make sure they’re being inclusive, and their programs are rounded out. If you’re not, it’s going to fall flat.”

This fall’s event serves as an amuse-bouche of sorts for the full-sized edition held Dallas’ annual art week on April 21-24, 2022. Cornell anticipates the energy of the scene returning to pre-pandemic levels. So much so, she wouldn’t be surprised—or disappointed—if the Dallas Art Fair had competition from other fairs in town at the same time, a future which is just fine with her.

“The city wasn’t ready for (multiple art fairs) beforehand, and now I think it is. I’m not going to be surprised if another competing art fair will come in and the city will be ready for it. As we’ve all grown and become more sophisticated, the timing is right.”

Tickets to the Dallas Art Fair can be purchased through the Fair’s website. // morgan lehman, jason stopa - study for padua chapel, 2021 acrylic on arches watercolor paper - 28h x 22w in

MODERN SPACES

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1717 Arts Plaza #1903 // $1,420,000 LYN WILLIAMS c. 214.505.4152 lyn.williams@compass.com

2011 Cedar Springs Rd #606 // $2,780,000 DAVID GRIFFIN c: 214.458.7663 davidg@davidgriffin.com

Modern Brazilian Cuisine

by H. Haberman

// designed by dutch east design

From its inception in the late 1960’s the Village has been a popular development. With it’s heavily wooded location, miles of walking and jogging trails and well maintained apartment homes, it attracted residents seeking an atmosphere that was conducive to outdoor activities as well as conveniently located in the heart of Dallas.

Until recently that attraction did not include fine dining, but all that is changing.

In the center of the property, new ultra-modern buildings have appeared and with them comes destination dining spots. One standout is Meridian, featuring modern Brazilian cuisine.

“I am beyond excited that we are bringing the first tastes of modern Brazilian cooking in North America to Dallas here at Meridian,” says executive chef Junior Borges.

“fine mid century and modern design”

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“To my knowledge, we are the first in the U.S. — at least in this century.”

Don’t expect churrasco, feijoada and all-youcan-eat rodizio. This modern Brazilian cuisine is inventive, ingredient-driven and dynamic.

Chef Borges’ cuisine celebrates the country’s early Indigenous, Portuguese and African ingredients and pulls them together with the contemporary Japanese, Italian, French, Lebanese and other influences that give today’s Brazil its exciting buzz.

“Americans are surprised to learn that Brazil has literally the largest Japanese population outside of Japan,” says Borges, “and the greatest number of people of Italian descent outside of Italy.”

CADDALLAS.ORG 2020 MEMBERS 500X Gallery Carneal Simmons Contemporary Art Conduit Gallery Craighead Green Gallery Cris Worley Fine Arts Erin Cluley Gallery Galleri Urbane Marfa+Dallas Holly Johnson Gallery Kirk Hopper Fine Art PDNB Gallery RO2 Art Talley Dunn Gallery Valley House Gallery & Sculpture Garden

For Borges, who grew up in Mimoso do Sul, a small town north of Rio de Janeiro, connection with the land is very important. Borges’ father was a country doctor whose patients often paid him in produce. “We’d get live chickens, and avocados and bananas, and eggs, and pork — that was all showing up at our door.” Equally important are the food traditions Borges learned from his Bahía-born grandmother. Her moqueca, traditional Bahían seafood stew. It serves as the inspiration for one

of his signature dishes, the day’s featured seafood in a velvety seafood-and-coconut broth tinted orange with dende oil.

“This is something I’ve always wanted to do. Meridian represents where I come from and who I am, and ties all my experiences and influences into an expressive cuisine,” says Borges. “That’s modern Brazilian.”

// designed by dutch east design

mod.artists gallery

judith seay | its all in your mind, oil on wood panel | 48 x 60 in

Modern Brazil is also the theme of the restaurant decor.

Designed by Dutch East Design, Inc., the 80 seat restaurant is bright and open with an exhibition kitchen and wood-fired hearth serving as its heart. The space opens into a wooded dining patio and nearby is a chef’s garden where some ingredients for the menu are grown.

and large plates as well as large-format platters of woodfired delights, designed to be shared. Head baker and pastry chef David Madrid features a daily bread course, inspired by the Brazilian tradition of “couverture.” Sommelier Caitlin Ball’s 100-selection wine list includes 24 by the glass and 9 reserve vintages.

The menu is organized into snacks, small plates, pastas

more about the meridian

// photo: barry snidow

// rock, paper, scissors, shoot! - hdr architecture photo: charles davis smith photographer

// photo: shoot2sell

modern

cravings // lido is a comfortable basket-like nest, with a round seat. inspired by the 1950’s, designed by italian-danish duo gamfratesi available. smink

// love by eugeni quitllet “this family of “lucky moods” is born from the idea of bringing good vibes into our daily life! available. leblon-delienne

// arne jacobsen a truly iconic piece of scandinavian mid century design. available. georg jensen

your modern

calendar

Modern events and activities make for fun around the Metroplex.

SCOTT SPECHT The Dallas Architecture Forum

WALKING TOURS Discover the Arts District + Explore the Main Street District Ad Ex

CIARA ELLE BRYANT The MAC

THE BOOK SMUGGLERS Dallas Holocaust and Human Rights Museum

CAROL BOVE Nasher Sculpture Center

NAUDLINE PIERRE Dallas Museum Of Art

CAROLYN BROWN Crow Museum Of Asian Art

ANILA QUAYYUM AGHA + SCOTT & STUART GENTLING Amon Carter Museum Of Art

modern

art galleries

Modern art, exhibits, around the Metroplex.

IN SEQUENCE + MISTY KEASLER Holly Johnson Gallery

MILES GOODWIN Valley House Gallery

WILLIAM CANNINGS + RICHARD PATTERSON Cris Worley Fine Arts

KATHY ROBINSON-HAYES + TERRY HAYES ro2art

GAIL PETER BORDEN + PETER FREDERIKSEN Galleri Urbane

LUKE HARNDEN Barry Whistler Gallery

ANNETTE LAWRANCE + JOHNNY FLOYD Conduit Gallery

FRESH FACES Site 131

LUCRECIA WAGGONER Laura Rathe Fine Art